Another week and another mixtape. Apologies if all I seem to be doing on this blog is to put together these playlists, but it’s one of the few things I’m genuinely excited about packaging and putting together. I’ll try to find more reasons to write, but in the meantime, treat yourself to some of these other-worldly sounds.

Never heard the original before by Mr Waits, so I’m considering myself schooled. However, what better education than the brazen, motor-riffic desert rock sensibilities courtesy of QOTSA? I’m never going to stop driving s’long as this keeps playing.

One of the best songs to come out of Sacramento’s heavy rock scene, this scorcher of a track displays the full maturity of what a rock career that spans two decades can do for your music. One of my favourite riffs on the planet, it’s a python of a riff that leaves you breathless.

What a great track to transition out of the abysmal mood set before! I’ll admit that the song didn’t really grab me at the start, I was afraid it was going to be another Peter, Bjorn and John with the initial whistling, but I was pleasantly surprised as the chorus came on. Probably closer to Haim, but a tad darker in mood, which is an interesting juxtaposition against the twee-like whistling.

This is an absolute monster of a track. You think it’s going to be another electro anthem with the intro, but NOOOOOO.. they drop the trap with absolute conviction! I want to listen to this in a hazy dance club, and forget all the hipsters around me.

As if the stereotypes don’t already come one after another. This delicate Bjork number from Biophelia is given dubstep treatment, but man does that bass kill it. Not for the faint-hearted, and a worthy addition to any mix.

Don’t know if I took it down too much, but I absolutely love this one by mockstarr (Adam Shah’s alter ego). The rhythms on this are so fresh, and definitely deserving of some electronica lovin’. Shah proves that he’s not just a master of hitting things, but also weaving electronic music to his bidding.

The first track of Jean Reiki’s new EP, Mindport, is a fascinating dive into the soundscape of Reiki’s psychosis. Part-tribal, part-breakbeat with a healthy dose of dark, atmospheric samples, Chang’e takes the listener through wormholes of quarks, quasars, unwritten histories and the multiverse futures.

Hot off Singapore’s underground, the Din/Weish project and favourite here at [geekulture], .gif released their debut EP, Saudade, at Lomography Singapore’s recent Blue Hour Sessions last Saturday. box burning is an intense exercise in contrast and tension. Weish’s spoken-word delivery is balanced on a knife’s edge of the arrangement’s samples and beats, courtesy of the duo. Lyrically, their own words aptly sum it up. “With two teaspoons of vanilla ice cream, one to ease the bitter pills and the other ’cause you’ll ask for another anyway.”

The groove is easy disco, the sun has just gone past the horizon and the rain trickles lightly on the mildly drenched asphalt road. Not needing to go anywhere or do anything, Sophia Knapp lulls you into an envelope of warmth and light drugs to dance off the whatever poisons you’ve allowed the day to inflict upon you.

What draws me to the no-wave sound, is that it doesn’t have to make any sense except what the listener wants to give it. It doesn’t mean anything until you give it meaning, and even if it’s ultimately meaningless, it means just that. Some times, that’s the best form of honesty, even though it’s all a paradox. If you can stomach it, the guitars on this are amazing.

While looking for audiobooks by H.P Lovecraft, I found this. While it sounds nothing like how I imagine the dread and desolation of typical Lovecraftian themes, the fuzz on that bass intro is face-meltingly gorgeous.

Everything you know led to this moment. Just as the world spiraled out of control and into madness, the artists were there before you foretelling the future that came to be. But we never listened, because everyone talks but nobody listens.

Now that we have your attention, Mayer Hawthorne makes everything better. From the Steely Dan-ish introduction to the muted bass arrangements that seem to alleviate all concerns, coerces you to lay down your burdens and just ‘be’.

What do you know, really? Apart from the snapshots and stitches of your experience. How do you declare yourself the voice of a generation when you are only one person? Power corrupts, and you and I are corruptible.